Dylan Tauber Traverses The Galaxy on Sounds From Space 2
Dylan Tauber’s ambitions are readily transparent on the aptly titled Sounds From Space 2. There’s song titles referencing angels, the sun, heaven, earth, satellites, planets… well, you get the point. He’s on some intergalactic, extraterrestrial freebooting voyages to the great beyond of the outer reaches of the galaxy, in some instances, and he’s got the instrumentation to prove it.
A fair amount of the synths on this project are warm, expansive, and slowly unfurl like a cloud of smoke ascending to a supernal body. That’s certainly the case on “Angels 2.0”, which opens up the collection sounding like a trip to the movies when the curtains finally pull away and they hit you with a the brilliant sensation of sound.
The bass is equally profound on this number, adhering to the length of the synths while the tiniest water droplets of keys, sounding almost algorithmic in precision, dance atop the tune. The dearth of drums on this affair buttresses its sprawling, interstellar appeal, which certainly isn’t confined to the third ball from the sun.
Another way Tauber’s able to conjure aural images of the unknown, dark deep void of space through music is by playing with the volume of individual sounds. Again, the synths are ripe for this maneuver, which is evidenced aplenty on cuts like “Heavenly” in which they repeatedly crescendo, only to recede in volume once again.
The protracted nature of these instruments with this added audio device makes the song seem to grow as some say space continuously does. “Heavenly”, however, is grounded in what sounds like hard hitting 808 kicks and the snare to match, although the latter may be drenched in effects almost beyond recognition.
Nonetheless, there are a few tracks that are assuredly worldly in their scope. “Ambiance of India”, for example, is one of the few tunes with vocals—although they’re almost surely samples of female cries in some language endemic to the foregoing nation state. This number has a unique drum pattern with so much reverb it almost sounds like delay on them—which does nothing to lessen the sheer pound of this cut, or the fact that Tauber’s work is almost certain to get you there, albeit not necessarily on earth.